There are two roads to graffiti resistance. One way to reduce the time and money spent dealing with graffiti is to use graffiti resistant paints that are easy to clean from the surface. The other way to fight this problem is to incorporate coatings that actually repel the materials used to deface a building.
Graffiti Resistant Coatings
Polyurethanes are a popular choice for coating manufacturers looking for graffiti resistance. These coatings are either one or two component products. One product polyurethanes are easier to apply, while two component products have better chemical resistance.
The graffiti resistant properties of polyurethane coatings can be enhanced with special hardening agents that prevent graffiti markings from leeching through the layers of coating. Bayer, a leading chemical manufacturer, has developed a waterborne hardener that is highly resistant to penetration, even by marker pens.
Graffiti Repellant Coatings
SEI Chemicals produces a flouro-polyol based coating, GPA-200, which causes spray paint to bead up like rain on a car hood. The coating does not allow paint to latch on to its surface, and greatly simplifies clean-up.
The company also produces a more advanced graffiti repellant paint called GPA-400. In addition to the non-stick qualities of the fluoro-poyol coating, tiny particles of ceramic material allow easy cleaning of surfaces coated with the resin.
Graffiti has been with us since the earliest days of Rome, so this age old problem will not disappear overnight. However, the coatings industry will continue to evolve and provide solutions for facility managers to help keep their buildings looking their best.
Thursday, July 31, 2008
Does Your Coating Pass the Graffiti Test?
Developing coatings that are resistant to marking and staining is one of many high-demand R&D projects for paint manufacturers. Graffiti removal costs municipalities and businesses millions of dollars every year, so painting contractors are often asked for coatings that resist marking and are easy to clean.
The Graffiti Test
The coatings industry has adopted a standardized test to determine the graffiti resistance of a given finish. The test is called the Standard Practice for Determination of Graffiti Resistance (ASTM D 6578 – 00), and measures the ease of cleaning graffiti from a coated surface.
First, the laboratory technicians paint a surface according to manufacturer’s recommendations, and then expose the surface to both natural and simulated aging. Once the coating is ready, the surface is marked. Typical graffiti materials are used for the test, include spray latex, epoxy and enamel as well as colored markers. After application, the material is left to dry for 24 hours.
Once the material is dry, a series of cleaning procedures, from least intensive to most intensive, are used to remove the markings. Each of the cleaning methods is assigned a level, with Level One reserved for the most gentle cleaning method (a dry cloth) and Level Five for the most intense cleaning method (methyl ethyl ketone, MEK). The testers note the ability of the coating to retain the marking color, lose gloss or change color as each cleaning method is attempted.
The coating is assigned a cleanability level for each type of graffiti medium used. Thus a coating might be Level One against markers, but Level Five against spray enamel.
Coming Up: Graffiti Resistant Paints
The Graffiti Test
The coatings industry has adopted a standardized test to determine the graffiti resistance of a given finish. The test is called the Standard Practice for Determination of Graffiti Resistance (ASTM D 6578 – 00), and measures the ease of cleaning graffiti from a coated surface.
First, the laboratory technicians paint a surface according to manufacturer’s recommendations, and then expose the surface to both natural and simulated aging. Once the coating is ready, the surface is marked. Typical graffiti materials are used for the test, include spray latex, epoxy and enamel as well as colored markers. After application, the material is left to dry for 24 hours.
Once the material is dry, a series of cleaning procedures, from least intensive to most intensive, are used to remove the markings. Each of the cleaning methods is assigned a level, with Level One reserved for the most gentle cleaning method (a dry cloth) and Level Five for the most intense cleaning method (methyl ethyl ketone, MEK). The testers note the ability of the coating to retain the marking color, lose gloss or change color as each cleaning method is attempted.
The coating is assigned a cleanability level for each type of graffiti medium used. Thus a coating might be Level One against markers, but Level Five against spray enamel.
Coming Up: Graffiti Resistant Paints
Wednesday, July 30, 2008
Water Conservation and Painting, Part II
Some of the most significant water conservation efforts can be made by reducing waste. Waste can occur at any stage of a project. Some types of waste are easy to identify, such as a leaking water supply tank or piping system. Other types of waste are less obvious.
White Water
For example, the production of latex paint creates waste water that is contaminated with latex particles. This waste water is called “white water” because of the whitish tinge the polymer gives to the water.
By microfiltering the white water, the painting industry can recover latex for re-use in paint, and reduce the amount of latex that is handled by a local waste water treatment plant. If desired, the white water can be re-used in other industries, such as road construction. Diverting the white water from the water treatment cycle reduces the strain on the water treatment system, protects groundwater supplies and replaces potable water used by another industry, thus reducing the strain on drinking water supplies.
Recycled Paint
Paint can be recycled through a process called consolidation. Post-consumer paint is collected from hazardous waste disposal sites and re-blended. Once the paint has been filtered, it is ready for re-use in a wide variety of projects. The consolidated paint requires less power to make and generates no new VOCs. From a water conservation standpoint, the consolidated paint is good because no new water is used as part of the process.
These are just two ways for the painting industry to help reduce waste water and protect water supplies for the future.
White Water
For example, the production of latex paint creates waste water that is contaminated with latex particles. This waste water is called “white water” because of the whitish tinge the polymer gives to the water.
By microfiltering the white water, the painting industry can recover latex for re-use in paint, and reduce the amount of latex that is handled by a local waste water treatment plant. If desired, the white water can be re-used in other industries, such as road construction. Diverting the white water from the water treatment cycle reduces the strain on the water treatment system, protects groundwater supplies and replaces potable water used by another industry, thus reducing the strain on drinking water supplies.
Recycled Paint
Paint can be recycled through a process called consolidation. Post-consumer paint is collected from hazardous waste disposal sites and re-blended. Once the paint has been filtered, it is ready for re-use in a wide variety of projects. The consolidated paint requires less power to make and generates no new VOCs. From a water conservation standpoint, the consolidated paint is good because no new water is used as part of the process.
These are just two ways for the painting industry to help reduce waste water and protect water supplies for the future.
Painting and Water Conservation
According to the Bay Area Water Supply and Conservation Agency (BAWSCA), the counties that make up the San Francisco Bay area use over 240 million gallons of water every day. This demand is expected to grow by up to 30 percent by the year 2030. As the demand is growing, climate change and disappearing water supplies make conservation a critical component to meeting the San Francisco area’s water needs.
A BAWSCA study for the fiscal year 2005-2006 shows that over 15 million gallons of water used every day is unaccounted for, lost in the system. 15 million gallons is the equivalent to 23 Olympic swimming pools every day. That is a lot of water to go missing. Some of the loss is caused by leaks. At every stage in the water delivery system water has a chance to escape. Pipes and storage tanks can become corroded and allow water to leak out.
Industrial painting helps solve the problem of lost water by coating the interior and exterior of pipes and storage tanks with water and chemical resistant coating products. Polyurea, a chemically resistant elastomeric coating, is used to seal the interior of the tanks. The tough, elastic membrane formed by the coating protects the structural metal from being affected by the water. If the interior of these water storage tanks was not coated, corrosion could damage the tank’s integrity and cause leaks.
By preventing the corrosion which causes leaks, painting and coating contractors are augmenting the efforts at every level of the water delivery system to conserve water.
A BAWSCA study for the fiscal year 2005-2006 shows that over 15 million gallons of water used every day is unaccounted for, lost in the system. 15 million gallons is the equivalent to 23 Olympic swimming pools every day. That is a lot of water to go missing. Some of the loss is caused by leaks. At every stage in the water delivery system water has a chance to escape. Pipes and storage tanks can become corroded and allow water to leak out.
Industrial painting helps solve the problem of lost water by coating the interior and exterior of pipes and storage tanks with water and chemical resistant coating products. Polyurea, a chemically resistant elastomeric coating, is used to seal the interior of the tanks. The tough, elastic membrane formed by the coating protects the structural metal from being affected by the water. If the interior of these water storage tanks was not coated, corrosion could damage the tank’s integrity and cause leaks.
By preventing the corrosion which causes leaks, painting and coating contractors are augmenting the efforts at every level of the water delivery system to conserve water.
Tuesday, July 29, 2008
Dry Fall Paint
For large outdoor structures, the problem of overspray with traditional paints can be difficult if not impossible to solve with traditional masking procedures. The paint droplets of standard coatings can be carried for hundreds of feet on the wind, and still be wet when they fall on surfaces. If spraying is still desired, the prep work required to contain the paint adds a significant amount of man-hours to a project.
The usual solution is to change the application, and switch to rollers. Unfortunately, rolling paint over large surfaces is more time-consuming than using spray. So which costs more in man-hours: the prep work for spraying or the application time for rolling?
Dry fall paint can be another solution to the problem. Using dry fall can allow continued use of spray with less prep time while still keeping sprayed paint out of places you do not want it.
Dry fall paints use additives that allow the paint droplets to dry rapidly, in as little as a ten foot fall. The paint droplets dry to a dust-like consistency which can be swept away. The dry fall capabilities of these paints are temperature and humidity dependant. Low temps and high humidity increases the fall time required for drying.
Dry fall paints are available in acrylic, alkyd and epoxy formulations. Dry fall paint is specially formulated for spray application and is not suitable for application by brush or roller.
The usual solution is to change the application, and switch to rollers. Unfortunately, rolling paint over large surfaces is more time-consuming than using spray. So which costs more in man-hours: the prep work for spraying or the application time for rolling?
Dry fall paint can be another solution to the problem. Using dry fall can allow continued use of spray with less prep time while still keeping sprayed paint out of places you do not want it.
Dry fall paints use additives that allow the paint droplets to dry rapidly, in as little as a ten foot fall. The paint droplets dry to a dust-like consistency which can be swept away. The dry fall capabilities of these paints are temperature and humidity dependant. Low temps and high humidity increases the fall time required for drying.
Dry fall paints are available in acrylic, alkyd and epoxy formulations. Dry fall paint is specially formulated for spray application and is not suitable for application by brush or roller.
Color Changing Paints
The painting industry never stands still. Painting R&D has often wondered if a pigment could be developed that changed colors. The answer is yes, and the latest line of color changing paints is ready for the market. Helicone HC liquid crystal pigments are a product of LCP Technology GmbH, a German company specializing in the creation of pigments for consumer products and paints.
How Helicone HC Works
Helicone HC pigment particles are shaped like tiny plates. Unlike standard pigments, the Helicone HC particles have no inherent color. Instead, they are transparent, like a crystal prism. The type of color produced by these special pigments is dependant on their shape and how light hits their surfaces.
When you stand directly in front of a surface painted with this color changing paint, the light is reflected off the flat surface of the plates so the paint appears as one color. If you stand at angle to the painted surface, the light that reaches your eyes is reflected by the edges of the plate, which creates a completely different color.
Helicone HC pigments produce colors in pairs, such as gold and green or light blue to deep blue. Currently the Helicone HC pigments are available in six color pairs. However, more than one type of pigment can be mixed within a binder to produce more color changing effects.
So far, Helicone HC has been used for consumer products, especially as an automotive paint, but the pigment could be suitable for some commercial uses. Toy stores, game rooms and entertainment centers could put the color changing effects of the pigment into service as part of the overall look for the business.
How Helicone HC Works
Helicone HC pigment particles are shaped like tiny plates. Unlike standard pigments, the Helicone HC particles have no inherent color. Instead, they are transparent, like a crystal prism. The type of color produced by these special pigments is dependant on their shape and how light hits their surfaces.
When you stand directly in front of a surface painted with this color changing paint, the light is reflected off the flat surface of the plates so the paint appears as one color. If you stand at angle to the painted surface, the light that reaches your eyes is reflected by the edges of the plate, which creates a completely different color.
Helicone HC pigments produce colors in pairs, such as gold and green or light blue to deep blue. Currently the Helicone HC pigments are available in six color pairs. However, more than one type of pigment can be mixed within a binder to produce more color changing effects.
So far, Helicone HC has been used for consumer products, especially as an automotive paint, but the pigment could be suitable for some commercial uses. Toy stores, game rooms and entertainment centers could put the color changing effects of the pigment into service as part of the overall look for the business.
Monday, July 28, 2008
The Santa Clara Lead Paint Public Nuisance Lawsuit
As Rhode Island and Ohio wrap up the public nuisance lead abatement cases against paint manufacturers, California is left as the only state with this type of litigation still pending.
In 2007, the defendants, a collection of manufacturers including du Pont and Atlantic Richfield, received a decision from the Superior Court of California forbidding the use of contingent fees by the public entities in the public nuisance case against the one-time manufacturers of lead-based painting products.
At the time, the ruling was based on a decision reached in a 1985 case (People ex rel. Clancy v. Superior Court) involving a private attorney retained by city government officials through a contingent fee arrangement. The court ruled that outside counsel must not be retained through contingent fee arrangements because it violates the neutrality of the attorney representing the government agency.
However, In April 2008, the Sixth Appellate District Court of Appeals ruled that the public entities bringing suit could retain their contingency fee agreements. The court of appeals ruled that the public entities in the Santa Clara case held decision making authority. The counsels engaged in this case are strictly subordinate to the government attorneys and thus, the neutrality issue does not apply. Also, unlike the original 1985 ruling, the public entities of Santa Clara are engaging more than one outside legal representative.
Naturally, the defendants in this case have requested a ruling from the California Supreme Court on this issue. So far, the California Supreme Court has ruled in this matter, and the case remains open.
In 2007, the defendants, a collection of manufacturers including du Pont and Atlantic Richfield, received a decision from the Superior Court of California forbidding the use of contingent fees by the public entities in the public nuisance case against the one-time manufacturers of lead-based painting products.
At the time, the ruling was based on a decision reached in a 1985 case (People ex rel. Clancy v. Superior Court) involving a private attorney retained by city government officials through a contingent fee arrangement. The court ruled that outside counsel must not be retained through contingent fee arrangements because it violates the neutrality of the attorney representing the government agency.
However, In April 2008, the Sixth Appellate District Court of Appeals ruled that the public entities bringing suit could retain their contingency fee agreements. The court of appeals ruled that the public entities in the Santa Clara case held decision making authority. The counsels engaged in this case are strictly subordinate to the government attorneys and thus, the neutrality issue does not apply. Also, unlike the original 1985 ruling, the public entities of Santa Clara are engaging more than one outside legal representative.
Naturally, the defendants in this case have requested a ruling from the California Supreme Court on this issue. So far, the California Supreme Court has ruled in this matter, and the case remains open.
Lead Paint Public Nuisance Verdict Still in the Air
Lead paint was so widely used in commercial, industrial and residential settings that the clean up has lasted for decades and will likely last for many years to come. In an effort to generate funds for abatement activities, some public organizations are filing public nuisance lawsuits against paint companies that manufactured lead-based paint.
So far this attempt to litigate a financial solution to lead abatement costs has not been successful. In July 2008, several high profile cases at the state supreme court level have dismissed or voluntarily dropped.
Recently, the Rhode Island Supreme Court threw out a case that would have cost paint companies billions of dollars in clean up costs. An attorney for the Sherwin-Williams Company, one of the defendants in the case, said that the high court’s decision “confirmed that public nuisance lawsuits are ill-advised and without merit."
The Rhode Island decision has had a domino effect in Ohio, where a public nuisance suit against paint manufactures has been dropped by the city of Columbus. In the last two years, ten other Ohio cities had filed public nuisance suits, only to have the state supreme court uphold a ruling that manufacturers cannot be sued for public nuisance for making defective products.
The only other public nuisance litigation on record is in the state of California, where the Santa Clara lead public nuisance lawsuit is still in appeals court process. In April, the Sixth Appellate District Court of Appeals ruled that the public entities bringing suit could retain their contingency fee agreements. The lawyers for the paint companies requested a California Supreme Court review of this decision, but so far the high court has not ruled in this matter.
Coming Up: The Santa Clara Lead Paint Public Nuisance Lawsuit
So far this attempt to litigate a financial solution to lead abatement costs has not been successful. In July 2008, several high profile cases at the state supreme court level have dismissed or voluntarily dropped.
Recently, the Rhode Island Supreme Court threw out a case that would have cost paint companies billions of dollars in clean up costs. An attorney for the Sherwin-Williams Company, one of the defendants in the case, said that the high court’s decision “confirmed that public nuisance lawsuits are ill-advised and without merit."
The Rhode Island decision has had a domino effect in Ohio, where a public nuisance suit against paint manufactures has been dropped by the city of Columbus. In the last two years, ten other Ohio cities had filed public nuisance suits, only to have the state supreme court uphold a ruling that manufacturers cannot be sued for public nuisance for making defective products.
The only other public nuisance litigation on record is in the state of California, where the Santa Clara lead public nuisance lawsuit is still in appeals court process. In April, the Sixth Appellate District Court of Appeals ruled that the public entities bringing suit could retain their contingency fee agreements. The lawyers for the paint companies requested a California Supreme Court review of this decision, but so far the high court has not ruled in this matter.
Coming Up: The Santa Clara Lead Paint Public Nuisance Lawsuit
Friday, July 25, 2008
Silicon Based Coatings
Although the idea of silicon based coatings is not new, the last decade has seen a huge number of new applications for silicon-based materials develop, as well as refinements of existing uses of silicon materials in paint.
Silicon-based materials have long been used in applications to provide foam control and to promote adhesion. As silicon materials readily combine with the polymers found in modern paints, manufacturers are able to blend their paints to achieve very high performance levels.
Depending on the formulation, a silicon-based paint may exhibit superior heat and abrasion resistance, resistance to oil and water, improved weathering characteristics or stain resistance. Since silicon is an inorganic compound, the material can be used to boost a paint’s performance without adding to the VOC content of the coating. When applied to concrete, masonry and tile, silicon-based paints exhibit incredible adhesion characteristics while offering a water resistant finish.
The specific type of silicon material used in a coating affects its final characteristics. Silicon has a very flexible chemical profile, which means that a paint manufacturer can dramatically alter paint performance by using a slightly different kind of silicon-based material.
This flexibility has led to paint manufacturers turning out coating products that are fine-tuned to specific niches within the commercial painting industry. So long as the paint is properly matched to the application, silicon-based coatings can yield excellent results.
Silicon-based materials have long been used in applications to provide foam control and to promote adhesion. As silicon materials readily combine with the polymers found in modern paints, manufacturers are able to blend their paints to achieve very high performance levels.
Depending on the formulation, a silicon-based paint may exhibit superior heat and abrasion resistance, resistance to oil and water, improved weathering characteristics or stain resistance. Since silicon is an inorganic compound, the material can be used to boost a paint’s performance without adding to the VOC content of the coating. When applied to concrete, masonry and tile, silicon-based paints exhibit incredible adhesion characteristics while offering a water resistant finish.
The specific type of silicon material used in a coating affects its final characteristics. Silicon has a very flexible chemical profile, which means that a paint manufacturer can dramatically alter paint performance by using a slightly different kind of silicon-based material.
This flexibility has led to paint manufacturers turning out coating products that are fine-tuned to specific niches within the commercial painting industry. So long as the paint is properly matched to the application, silicon-based coatings can yield excellent results.
New Paints for a Healthier Building
As buildings become more efficiently sealed against outside airflow, they open themselves up to another concern: mold and mildew infestation. Tightly sealed buildings tend to retain more moisture inside, which can provide a boost for the growth of molds and mildew. Anti-fungal paints can be combined with cleaning practices to reduce the incidence of mold and help maintain a decent interior air quality.
The active ingredient 3-iodpropinyl-N-butylcarbamate (IPBC) is an industry standard anti-fungal additive to paint which prevents mold growth and inhibits the spread of mildew. Paints using this additive are often applied in hospitals and food processing plants, where they complement existing cleaning procedures.
Although effective anti-fungal paints are well represented in the industrial painting world, anti-microbial paints are getting more attention from manufacturers and facility directors. The goal is a dry film anti-microbial coating that is safe for use and retains its special qualities for a reasonably long life cycle.
One manufacturer, the Troy Corporation, has had success transforming the antibacterial substance 1,2-benzisothiazolin-3-one into a slow release form, which allows it to provide a constant level of protection against microorganisms over the lifetime of the paint.
Two additives, one based on silver, and the other based on zinc, are also being looked at with great interest by paint manufacturers to provide antibacterial capability for sensitive locations, such as hospitals, day care centers and assisted living homes. Silver, although effective as an anti-bacterial paint additive, has the disadvantage of being quite expensive.
The active ingredient 3-iodpropinyl-N-butylcarbamate (IPBC) is an industry standard anti-fungal additive to paint which prevents mold growth and inhibits the spread of mildew. Paints using this additive are often applied in hospitals and food processing plants, where they complement existing cleaning procedures.
Although effective anti-fungal paints are well represented in the industrial painting world, anti-microbial paints are getting more attention from manufacturers and facility directors. The goal is a dry film anti-microbial coating that is safe for use and retains its special qualities for a reasonably long life cycle.
One manufacturer, the Troy Corporation, has had success transforming the antibacterial substance 1,2-benzisothiazolin-3-one into a slow release form, which allows it to provide a constant level of protection against microorganisms over the lifetime of the paint.
Two additives, one based on silver, and the other based on zinc, are also being looked at with great interest by paint manufacturers to provide antibacterial capability for sensitive locations, such as hospitals, day care centers and assisted living homes. Silver, although effective as an anti-bacterial paint additive, has the disadvantage of being quite expensive.
Thursday, July 24, 2008
Painting Locations: Water Towers
At first glance, a water tower might seem like an easy painting location. Closer examination of what is involved in re-coating a water tower or other exposed high steel structure reveals a challenging painting location, and the type of project that true painting professionals thrive upon.
For older structures, the existing paint is quite likely to be lead-based, which leads to additional removal and abatement costs, which a painting and coating company will likely subcontract out. The option to sub-out is never taken lightly, but the strict requirements for lead abatement force most painting contractors to hire qualified lead abatement professionals for these types of jobs.
Even if lead abatement is not an issue for a tower, containing the old coating material removed from the tank is always a concern. As part of the preparation process, the tank is blasted, scoured and prepped so that the base coats bond to the metal and provide a solid foundation for the intermediate coats and top coats.
Application can be tricky. Working two and three hundred feet in the air gives paint droplets a lot of chances to go where they should not. Careful masking and preparation practices have to be in place to keep the new paint from becoming a neighboring business's problem.
The issue of design is often a factor. A plain white coat is easy for an experienced professional to achieve using a mixture of painting systems. Designing and executing large scale lettering, logos and graphics adds another level of difficulty to the project, but the result is well worth the extra effort.
For older structures, the existing paint is quite likely to be lead-based, which leads to additional removal and abatement costs, which a painting and coating company will likely subcontract out. The option to sub-out is never taken lightly, but the strict requirements for lead abatement force most painting contractors to hire qualified lead abatement professionals for these types of jobs.
Even if lead abatement is not an issue for a tower, containing the old coating material removed from the tank is always a concern. As part of the preparation process, the tank is blasted, scoured and prepped so that the base coats bond to the metal and provide a solid foundation for the intermediate coats and top coats.
Application can be tricky. Working two and three hundred feet in the air gives paint droplets a lot of chances to go where they should not. Careful masking and preparation practices have to be in place to keep the new paint from becoming a neighboring business's problem.
The issue of design is often a factor. A plain white coat is easy for an experienced professional to achieve using a mixture of painting systems. Designing and executing large scale lettering, logos and graphics adds another level of difficulty to the project, but the result is well worth the extra effort.
Drying Factors for Epoxy Paints
Epoxy paints are tough, durable and attractive finishes that are well suited to floors, pools and other concrete surfaces. However, epoxy paints need to cure properly to get the best results. Here are a few of the factors that affect the drying and cure time of epoxy.
Temperature
Most commercial and industrial grade epoxy finishes have an ideal application temperature of 65 to 70 degrees Fahrenheit, with an application range from 50 to 90 degrees. Specific products may be formulated for applications in higher or lower temperatures. In general, lower temperatures will inhibit proper curing. Without a good curing cycle, the finish will not generate the toughness and adhesion that makes epoxy such a good coating material.
Moisture
Like acrylic and latex paints, epoxy finishes are susceptible to moisture during the drying process. Excessive humidity can slow down drying times. Most epoxy manufacturers specify humidity ranges for application, with 50 percent being a very common ideal humidity value. Some specialty products will tolerate higher humidity environments more than others.
Of more concern for a quality epoxy finish is moisture on the surface that is being coated. Making sure the surface is absolutely dry is an important part of the preparation process. Surface moisture greatly reduces the adhesion of the epoxy and results in blistering and curling.
Time
Like other paints, epoxy needs time to cure properly. Without curing, the epoxy is easier to damage, and will likely exhibit a less appealing look. One special consideration with epoxy is the length of time before top coating. Many epoxy finishes have a recommended time frame for top coating. This time allows earlier coats to complete a critical part of the curing process, while still giving the fresh epoxy a good surface to bite into.
Temperature
Most commercial and industrial grade epoxy finishes have an ideal application temperature of 65 to 70 degrees Fahrenheit, with an application range from 50 to 90 degrees. Specific products may be formulated for applications in higher or lower temperatures. In general, lower temperatures will inhibit proper curing. Without a good curing cycle, the finish will not generate the toughness and adhesion that makes epoxy such a good coating material.
Moisture
Like acrylic and latex paints, epoxy finishes are susceptible to moisture during the drying process. Excessive humidity can slow down drying times. Most epoxy manufacturers specify humidity ranges for application, with 50 percent being a very common ideal humidity value. Some specialty products will tolerate higher humidity environments more than others.
Of more concern for a quality epoxy finish is moisture on the surface that is being coated. Making sure the surface is absolutely dry is an important part of the preparation process. Surface moisture greatly reduces the adhesion of the epoxy and results in blistering and curling.
Time
Like other paints, epoxy needs time to cure properly. Without curing, the epoxy is easier to damage, and will likely exhibit a less appealing look. One special consideration with epoxy is the length of time before top coating. Many epoxy finishes have a recommended time frame for top coating. This time allows earlier coats to complete a critical part of the curing process, while still giving the fresh epoxy a good surface to bite into.
Wednesday, July 23, 2008
How Humidity and Temperature Affect Acrylic and Latex Paints
Coating thickness is only one factor that affects the drying time of acrylic and latex paints. Humidity and temperature are two environmental factors that have a great impact on the amount of time it takes for a coat of paint to fully dry.
Humidity
If the air is loaded with water vapor, the water in the paint cannot evaporate as readily. This slows down drying times. If the paint is exposed to excessively high humidity, the desired protective qualities of the paint may be compromised.
High humidity also works against a fresh coat of paint by re-introducing water into the incompletely dried paint film. Combine high humidity with low temperatures, and condensation develops on the freshly painted surface, which can mar the paint job.
Temperature
Acrylic and latex paints dry the best within a narrow range of temperatures, between 65 to 85 degrees Fahrenheit. At lower temperatures, the pigments are unable to coalesce properly, which compromises the quality of the finished job and cuts into the lifespan of the paint. At very low temperatures, the water in wet paint can freeze, which effectively ruins the paint.
High temperatures, especially when caused by direct sunlight, can lead to blistering. This effect occurs because the intense heat of direct sunlight causes the compounds in the paint to vaporize, building pressure under the paint layer until the wet paint bubbles away from the substrate.
Other kinds of paint have different factors that influence their drying times. Coming up we will examine what hurts the drying time of two commonly used industrial paints: epoxy and elastomeric coatings.
Humidity
If the air is loaded with water vapor, the water in the paint cannot evaporate as readily. This slows down drying times. If the paint is exposed to excessively high humidity, the desired protective qualities of the paint may be compromised.
High humidity also works against a fresh coat of paint by re-introducing water into the incompletely dried paint film. Combine high humidity with low temperatures, and condensation develops on the freshly painted surface, which can mar the paint job.
Temperature
Acrylic and latex paints dry the best within a narrow range of temperatures, between 65 to 85 degrees Fahrenheit. At lower temperatures, the pigments are unable to coalesce properly, which compromises the quality of the finished job and cuts into the lifespan of the paint. At very low temperatures, the water in wet paint can freeze, which effectively ruins the paint.
High temperatures, especially when caused by direct sunlight, can lead to blistering. This effect occurs because the intense heat of direct sunlight causes the compounds in the paint to vaporize, building pressure under the paint layer until the wet paint bubbles away from the substrate.
Other kinds of paint have different factors that influence their drying times. Coming up we will examine what hurts the drying time of two commonly used industrial paints: epoxy and elastomeric coatings.
Drying Times for Acrylic and Latex Paints
Once a coating has been applied to a surface, a certain amount of time is needed for the paint to dry. Drying times can be greatly influenced by a number of factors and must always be considered in an industrial painting project. By carefully planning the painting schedule with built in dry times, the impact on production or facility use can be lessened.
So what affects drying times? The big three factors that influence the drying times of acrylic and latex paint are coating thickness, humidity and temperature. Let’s take a look at coating thickness first.
Coating Thickness
Thick coats always increase paint’s drying time. Acrylic and latex paints dry in a two step process. In the first step, the paint loses moisture through evaporation. Once enough moisture is lost, the paint develops a very thin skin of dried paint. Underneath this skin, the paint is still wet and is still vulnerable to damage.
In the second step of the drying process, the deep layer of wet paint hardens. During this step, the pigment is trapped within the lattice structure of the paint’s binder. Also during this stage, the polymers in the paint begin to cross-link, further increasing the paint’s durability.
The second step of drying can take several days to complete, and should be figured into project completion times to prevent damaging the fresh surface coat.
Coming Up: How Humidity and Temperature Affect Acrylic and Latex Paints
So what affects drying times? The big three factors that influence the drying times of acrylic and latex paint are coating thickness, humidity and temperature. Let’s take a look at coating thickness first.
Coating Thickness
Thick coats always increase paint’s drying time. Acrylic and latex paints dry in a two step process. In the first step, the paint loses moisture through evaporation. Once enough moisture is lost, the paint develops a very thin skin of dried paint. Underneath this skin, the paint is still wet and is still vulnerable to damage.
In the second step of the drying process, the deep layer of wet paint hardens. During this step, the pigment is trapped within the lattice structure of the paint’s binder. Also during this stage, the polymers in the paint begin to cross-link, further increasing the paint’s durability.
The second step of drying can take several days to complete, and should be figured into project completion times to prevent damaging the fresh surface coat.
Coming Up: How Humidity and Temperature Affect Acrylic and Latex Paints
Tuesday, July 22, 2008
Reactive Paint Possibilities
When high technology meets industrial coatings, it's not just a simple coat of paint anymore.
No one denies that advances in technology will change the way that buildings are maintained. However, the types of changes that will occur are open to speculation. In the painting and coating field, research from private corporations is leading to new colors, better coverage, faster drying times and lower VOC content. Continued advances in painting technology may bring about paints that react to impact, heat and other environmental changes.
Microencapsulation technology allows paint manufacturers to add dyes to paint. When the paint suffers an impact, the tiny capsules in the paint break and alter the color. Although the technology is meant for coating military aircraft, further research could yield reactive paint suitable for commercial or industrial purposes.
By changing the materials used to create the microcapsules, manufacturers could develop paints that register important environmental changes. The color changing paint could be an early warning system for structural steel, with the microcapsules tailored to release dye when the material is subjected to forces that are close to their maximum capacity. This would give building managers an early warning system for structural damage. Armed with this forewarning, damage to the structure could be limited and repair costs possibly reduced.
Although reactive paints are still in development, their possible uses can be an important boost to safety in a commercial or manufacturing setting. Reactive paint could be developed to react to heat, the presence of certain chemicals, radiation and many other environmental factors are commonly encountered in modern industry.
No one denies that advances in technology will change the way that buildings are maintained. However, the types of changes that will occur are open to speculation. In the painting and coating field, research from private corporations is leading to new colors, better coverage, faster drying times and lower VOC content. Continued advances in painting technology may bring about paints that react to impact, heat and other environmental changes.
Microencapsulation technology allows paint manufacturers to add dyes to paint. When the paint suffers an impact, the tiny capsules in the paint break and alter the color. Although the technology is meant for coating military aircraft, further research could yield reactive paint suitable for commercial or industrial purposes.
By changing the materials used to create the microcapsules, manufacturers could develop paints that register important environmental changes. The color changing paint could be an early warning system for structural steel, with the microcapsules tailored to release dye when the material is subjected to forces that are close to their maximum capacity. This would give building managers an early warning system for structural damage. Armed with this forewarning, damage to the structure could be limited and repair costs possibly reduced.
Although reactive paints are still in development, their possible uses can be an important boost to safety in a commercial or manufacturing setting. Reactive paint could be developed to react to heat, the presence of certain chemicals, radiation and many other environmental factors are commonly encountered in modern industry.
New Technologies: Reactive Paints
Imagine being able to spot damage in your buildings before it became a major problem. A new paint being developed by Luna Innovations uses dye to change the color of paint when the painted surface is struck. The color change could provide a quick and easy way for building maintenance professionals to spot potential problems before they had a chance to worsen.
How Color Changing Paint Works
Color changing paint works by using a dye to alter the color of the paint. The dye is contained in microcapsules that are mixed with the pigment and other solid materials in paint. When the surface of the paint is struck, the microcapsules rupture, releasing the dye and effecting the color change.
The paint under development will also be able to distinguish the severity of impact, to a limited degree. When the dye is released by a low-level impact, the proportion of dye to pigment produces a visually distinct color from the color produced by a high energy impact.
Currently reactive paints are slated for use in military aircraft. However, the technology could be incorporated into paint for commercial and industrial buildings. If the cracks and micro-abrasions that might affect an airplane’s performance can be revealed by the color changing paints, then impacts and abrasions that compromise a coating’s protective qualities could also be revealed.
Coming Up: Reactive Paint Possibilities
How Color Changing Paint Works
Color changing paint works by using a dye to alter the color of the paint. The dye is contained in microcapsules that are mixed with the pigment and other solid materials in paint. When the surface of the paint is struck, the microcapsules rupture, releasing the dye and effecting the color change.
The paint under development will also be able to distinguish the severity of impact, to a limited degree. When the dye is released by a low-level impact, the proportion of dye to pigment produces a visually distinct color from the color produced by a high energy impact.
Currently reactive paints are slated for use in military aircraft. However, the technology could be incorporated into paint for commercial and industrial buildings. If the cracks and micro-abrasions that might affect an airplane’s performance can be revealed by the color changing paints, then impacts and abrasions that compromise a coating’s protective qualities could also be revealed.
Coming Up: Reactive Paint Possibilities
Friday, July 18, 2008
The 28 Day Rule Strikes Again
The 28 day rule is used painting and concrete contractors as a rule of thumb to time the proper curing of a concrete slab. Coating or painting the concrete too early in its life cycle spells disaster for the coating and is a hit to the pocketbook as well. By following the 28 day rule, your painting contractor is making sure that the concrete is ready hold a coating.
After curing for 28 days, most types of concrete can be prepped for painting. Although the preparation process may vary from product to product, prep work is absolutely vital to the finished look of the concrete coating. This bears repeating: Prep work is absolutely vital to the finished look. No exceptions.
As part of the curing process, water reacts with the cement and the aggregate mix. Sometimes, the proper water to cement ratio is maintained by coating the fresh concrete with a sealer, which prevents water from leaving the drying concrete too rapidly. While this sealer is necessary to create good concrete, the sealer often interferes with paint’s ability to effectively bond with the surface.
Your painting contractor will remove any sealers before painting new concrete. Once cleaned the surface is further prepared by acid washing or shot blasting. For some concrete slabs, a water and salt blocking layer may be applied to protect the finish from seepage from underneath the concrete.
After the concrete has been thoroughly cleaned and dried, your contractor lays down the first coats that will become a durable and attractive concrete floor finish.
Have a great weekend.
After curing for 28 days, most types of concrete can be prepped for painting. Although the preparation process may vary from product to product, prep work is absolutely vital to the finished look of the concrete coating. This bears repeating: Prep work is absolutely vital to the finished look. No exceptions.
As part of the curing process, water reacts with the cement and the aggregate mix. Sometimes, the proper water to cement ratio is maintained by coating the fresh concrete with a sealer, which prevents water from leaving the drying concrete too rapidly. While this sealer is necessary to create good concrete, the sealer often interferes with paint’s ability to effectively bond with the surface.
Your painting contractor will remove any sealers before painting new concrete. Once cleaned the surface is further prepared by acid washing or shot blasting. For some concrete slabs, a water and salt blocking layer may be applied to protect the finish from seepage from underneath the concrete.
After the concrete has been thoroughly cleaned and dried, your contractor lays down the first coats that will become a durable and attractive concrete floor finish.
Have a great weekend.
Painting Concrete: The 28 Day Rule
Planning on a coating for your concrete floor? If you are expanding or renovating your facility and have laid down new areas of concrete slab, you may hear both the concrete contractors and the painting contractors invoke the 28 day rule.
The products used to paint or coat concrete need a clean, dry surface to create a strong protective coating. However, concrete requires a carefully controlled amount of water to be present in the mix in order to cure properly. This process is called hydration, and is a chemical reaction between the cement, aggregates and water.
Although a great deal of the hydration in a typical slab of concrete is complete in the first seven days, the chemical process continues on at a much slower rate. Hydration takes place in concrete for years, making a properly poured slab stronger and stronger over time. However, the bulk of the hydration process is complete in just under a month. Since waiting years to coat a new slab would be impractical, your painting and coating contractor will wait 28 days before applying product to your new concrete floor.
If you require your contractor to paint the concrete before the hydration process is complete, the water present in the microscopic spaces of the concrete will seriously degrade the strength and appearance of the paint. The coating will be more prone to wear and tear damage and will blister more readily, cutting the lifespan of the paint and ultimately costing you more money.
Coming Up: The 28 Day Rule Strikes Again
The products used to paint or coat concrete need a clean, dry surface to create a strong protective coating. However, concrete requires a carefully controlled amount of water to be present in the mix in order to cure properly. This process is called hydration, and is a chemical reaction between the cement, aggregates and water.
Although a great deal of the hydration in a typical slab of concrete is complete in the first seven days, the chemical process continues on at a much slower rate. Hydration takes place in concrete for years, making a properly poured slab stronger and stronger over time. However, the bulk of the hydration process is complete in just under a month. Since waiting years to coat a new slab would be impractical, your painting and coating contractor will wait 28 days before applying product to your new concrete floor.
If you require your contractor to paint the concrete before the hydration process is complete, the water present in the microscopic spaces of the concrete will seriously degrade the strength and appearance of the paint. The coating will be more prone to wear and tear damage and will blister more readily, cutting the lifespan of the paint and ultimately costing you more money.
Coming Up: The 28 Day Rule Strikes Again
Thursday, July 17, 2008
Elastomeric Ter-polymer Characteristics
So what separates a good elastomeric ter-polymer sealants from a bad one? Industry testing records many characteristics of coatings so that a standard of comparison can be used across products. For sealants, a couple of characteristics are essential for producing a good product
Elongation
As the name elastomeric suggests, these types of sealants are expected to stretch or elongate. As a building heats and cools over the course of the day, its exterior expands and contracts. If the sealant fails to expand and contract along with the building, it ruptures, and its protective qualities are ruined.
In industry testing, elongation is the percentage of the original length of the sample sealant at a given temperature to which the material can be stretched without breaking. In other words, the higher the elongation percentage, the stretchier the material will be.
Adhesion
Adhesion is another critical factor for a good elastomeric sealant. If the product cannot create a strong bond with the surface, it will not be able to maintain seal integrity over time. Adhesion tests are performed by using the sealant to glue together two regular surfaces. Tests are usually performed between two slick surfaces, such as glass or metal, as well as between two rough surfaces, such as concrete. Adhesion is measured by the amount of pressure required to pull the two surfaces apart.
Industry testing also measures characteristics such as viscosity, solids by volume or weight and hardness. Although these characteristics are important, without a reasonable degree of elasticity and adhesion, an elastomeric sealant will not be able to perform up to expectations.
Elongation
As the name elastomeric suggests, these types of sealants are expected to stretch or elongate. As a building heats and cools over the course of the day, its exterior expands and contracts. If the sealant fails to expand and contract along with the building, it ruptures, and its protective qualities are ruined.
In industry testing, elongation is the percentage of the original length of the sample sealant at a given temperature to which the material can be stretched without breaking. In other words, the higher the elongation percentage, the stretchier the material will be.
Adhesion
Adhesion is another critical factor for a good elastomeric sealant. If the product cannot create a strong bond with the surface, it will not be able to maintain seal integrity over time. Adhesion tests are performed by using the sealant to glue together two regular surfaces. Tests are usually performed between two slick surfaces, such as glass or metal, as well as between two rough surfaces, such as concrete. Adhesion is measured by the amount of pressure required to pull the two surfaces apart.
Industry testing also measures characteristics such as viscosity, solids by volume or weight and hardness. Although these characteristics are important, without a reasonable degree of elasticity and adhesion, an elastomeric sealant will not be able to perform up to expectations.
Elastomeric Ter-polymer Sealants: The Basics
Elastomeric sealants are often used in the painting and coating industry to prepare a surface before top coating. Sealants are typically thicker than normal paint, and have thickness resembling butter. The sealants take advantage of the chemical properties of a group of compounds called elastomers. Elastomers allow products made with these compounds to exhibit flexibility and stretchiness within a reasonably wide range of temperatures and conditions.
Adobe, masonry and concrete structures develop cracks over their lifespan. Sealing these breaks in the exterior surface of a structure is necessary to keep moisture out and prevent further damage, both inside and outside of the facility.
If the cracks or holes in the material are small, elastomeric sealants can be used to plug the gaps and restore the integrity of the building. The products are not meant to repair cracks that present a genuine compromise in material strength. Most manufacturers of elastomeric ter-polymer sealants recommend using their products to seal a crack no larger than ¼ of an inch across.
Elastomeric sealants are most commonly used on stucco, brick, pre-cast concrete, concrete block. Some sealants are also compatible with wood or metal surfaces.
Elastomeric sealants are meant to be applied to dry clean surfaces, and require time to cure before achieving their desired characteristics. Extreme conditions of heat and cold will reduce the performance of elastomeric ter-polymer sealants.
Coming Up: Elastomeric Ter-polymer Characteristics
Adobe, masonry and concrete structures develop cracks over their lifespan. Sealing these breaks in the exterior surface of a structure is necessary to keep moisture out and prevent further damage, both inside and outside of the facility.
If the cracks or holes in the material are small, elastomeric sealants can be used to plug the gaps and restore the integrity of the building. The products are not meant to repair cracks that present a genuine compromise in material strength. Most manufacturers of elastomeric ter-polymer sealants recommend using their products to seal a crack no larger than ¼ of an inch across.
Elastomeric sealants are most commonly used on stucco, brick, pre-cast concrete, concrete block. Some sealants are also compatible with wood or metal surfaces.
Elastomeric sealants are meant to be applied to dry clean surfaces, and require time to cure before achieving their desired characteristics. Extreme conditions of heat and cold will reduce the performance of elastomeric ter-polymer sealants.
Coming Up: Elastomeric Ter-polymer Characteristics
Wednesday, July 16, 2008
How Dry Ice Blasting Works
Dry ice blasting is an evolving technology that uses dry ice pellets instead of traditional abrasive media to strip a painted before recoating. The unique characteristics of carbon dioxide are what make this blasting procedure so effective.
The by-product of dry ice blasting is carbon dioxide, the same gas that we exhale every time we breathe. With proper ventilation, a cleaned area can readied for safe use almost immediately.
Unlike steel grit or sand, which merely impact the surface and depend on friction to wear away the old paint or coating, dry ice pellets create a field of micro-explosions on the painted surface, which can speed up removal procedures. The rapid sublimation of the carbon dioxide from its solid to gaseous state causes it to expand to over 800 times its initial volume. The rapid sublimation forces carbon dioxide gas behind the paint layer, where it blisters away more of the paint as it continues to expand along the substrate.
Since dry ice is over one hundred degrees colder than water ice, the frozen pellets used in dry ice blasting lower the temperature of the work surface. As we all know, low temperatures negatively affect the adhesive qualities of paint and industrial coatings. Combined with the abrasive impact of the pellets, most paints don’t stand a chance.
The intense cold of the dry ice pellets can also cause the surface material itself to shrink underneath the paint layer, further weakening the integrity of the paint.
The by-product of dry ice blasting is carbon dioxide, the same gas that we exhale every time we breathe. With proper ventilation, a cleaned area can readied for safe use almost immediately.
Unlike steel grit or sand, which merely impact the surface and depend on friction to wear away the old paint or coating, dry ice pellets create a field of micro-explosions on the painted surface, which can speed up removal procedures. The rapid sublimation of the carbon dioxide from its solid to gaseous state causes it to expand to over 800 times its initial volume. The rapid sublimation forces carbon dioxide gas behind the paint layer, where it blisters away more of the paint as it continues to expand along the substrate.
Since dry ice is over one hundred degrees colder than water ice, the frozen pellets used in dry ice blasting lower the temperature of the work surface. As we all know, low temperatures negatively affect the adhesive qualities of paint and industrial coatings. Combined with the abrasive impact of the pellets, most paints don’t stand a chance.
The intense cold of the dry ice pellets can also cause the surface material itself to shrink underneath the paint layer, further weakening the integrity of the paint.
New Surface Prep Technologies: Dry Ice Blasting
Although water, sand and shot blasting give great results for surface preparation, advances in technology are giving contractors new ways to strip and prepare surfaces for refinishing and painting. Dry ice blasting is one of the new techniques on the market that can be useful in certain applications.
One of the biggest problems associated with any kind of blasting is the removal of the abrasive medium from the work area once the surface has been stripped. Water blasting requires vacuuming or suction to keep the work surface clear. Sand and steel grit particles have an uncanny ability to worm their way into unexpected places, making a quality clean up somewhat time intensive.
Clean up after a dry ice blasting procedure is simplified by the characteristics of the material. Dry ice blasting uses frozen pellets of carbon dioxide as the abrasive medium. Carbon dioxide is a gas under normal temperatures and pressures, so when the pellets hit a work surface, they sublimate straight into a vapor, leaving no condensation.
Once a surface has been stripped using dry ice blasting, the only clean up required is the removal of the old paint and debris knocked loose by the cleaning procedure.
Dry ice blasting does have drawbacks. The machinery used to deliver the stream of dry ice pellets is very loud, and operators will have to wear hearing protection. Since the dry ice sublimates into carbon dioxide, proper ventilation of the area is absolutely critical.
Coming Up: How Dry Ice Blasting Works
One of the biggest problems associated with any kind of blasting is the removal of the abrasive medium from the work area once the surface has been stripped. Water blasting requires vacuuming or suction to keep the work surface clear. Sand and steel grit particles have an uncanny ability to worm their way into unexpected places, making a quality clean up somewhat time intensive.
Clean up after a dry ice blasting procedure is simplified by the characteristics of the material. Dry ice blasting uses frozen pellets of carbon dioxide as the abrasive medium. Carbon dioxide is a gas under normal temperatures and pressures, so when the pellets hit a work surface, they sublimate straight into a vapor, leaving no condensation.
Once a surface has been stripped using dry ice blasting, the only clean up required is the removal of the old paint and debris knocked loose by the cleaning procedure.
Dry ice blasting does have drawbacks. The machinery used to deliver the stream of dry ice pellets is very loud, and operators will have to wear hearing protection. Since the dry ice sublimates into carbon dioxide, proper ventilation of the area is absolutely critical.
Coming Up: How Dry Ice Blasting Works
Tuesday, July 15, 2008
Water Blasting in Detail
Water blasting skips the abrasive materials altogether and uses a high pressure stream of water to clean the surface of dirt and grit as well as knocking away any loose pieces of paint. Typically, water is shot through a narrow aperture nozzle to concentrate the force of the blast. Some models use a lance-type sprayer, which resembles a heavy duty car washer. Other types deliver pressure through an apparatus that resembles a commercial floor buffer.
Pressures up to 40,000 pounds per square inch can be achieved with some water blasting models. Depending on the specific application, some water blasting systems also have a vacuum attachment that picks up and filters the contaminated water.
The highest pressure water systems are capable of reforming the substrate. Water blasting accomplishes this smoothing without leaving behind contaminants that can become trapped under layers of new paint. Specialized delivery systems enable the operators to clean the traffic markings off of pavement or remove rubber and other residue from decks and runways.
Water blasting systems do not introduce abrasive particles into the air which makes water blasting an ideal solution for environments that are sensitive to grit or dust. The blasting procedure is spark free, which makes blasting possible in some volatile environments.
Water blasting is an excellent cleaning and surface preparation choice for wet environments, such as ship hulls, pools and outdoor decking. Concrete surfaces such as sidewalks, parking garages and pavement are also good candidates for water blasting.
Pressures up to 40,000 pounds per square inch can be achieved with some water blasting models. Depending on the specific application, some water blasting systems also have a vacuum attachment that picks up and filters the contaminated water.
The highest pressure water systems are capable of reforming the substrate. Water blasting accomplishes this smoothing without leaving behind contaminants that can become trapped under layers of new paint. Specialized delivery systems enable the operators to clean the traffic markings off of pavement or remove rubber and other residue from decks and runways.
Water blasting systems do not introduce abrasive particles into the air which makes water blasting an ideal solution for environments that are sensitive to grit or dust. The blasting procedure is spark free, which makes blasting possible in some volatile environments.
Water blasting is an excellent cleaning and surface preparation choice for wet environments, such as ship hulls, pools and outdoor decking. Concrete surfaces such as sidewalks, parking garages and pavement are also good candidates for water blasting.
Sand Blasting in Detail
Sand blasting is perhaps the most commonly used blasting system in industrial painting. Abrasive particles of sand are mixed with a high pressure stream of air or water. The resulting mix is sprayed on a painted surface. The action of sand and high pressure air or water readily cleans most surfaces of paint and dirt.
Sand blasting is an excellent blasting method to prepare painted concrete and masonry. For softer materials such as wood, special equipment must be used to prevent damage to the substrate. Wet blasting, done with high pressure water sprays, is usually done to exterior surfaces. Dry blasting, which uses high pressure air as the grit propellant, is most often used to prepare metal surfaces.
As an abrasive material, sand is cheap and readily available. Although native sand, sand from a local source may be used, cleaning the material to remove impurities is highly recommended. Also, the granule size and composition of native sand can vary considerably, which makes achieving uniform results a little trickier. Many professional contractors use aluminum oxide or silicon carbide grit that has been cleaned and sifted for uniform particle size.
Like many blasting procedures, sand blasting is of limited use against areas that are thickly coated with paint. Thicker finishes should be scraped before shooting the structure in order to preserve the substrate.
Like steel shot, the sand can be cleaned and reused if desired. An extraction system reclaims the sand particles by showering the sand and paint impregnated air with water. A filtering system removes the dirt and paint and leaves the sand particles for reuse.
Coming Up: Water Blasting in Detail
Sand blasting is an excellent blasting method to prepare painted concrete and masonry. For softer materials such as wood, special equipment must be used to prevent damage to the substrate. Wet blasting, done with high pressure water sprays, is usually done to exterior surfaces. Dry blasting, which uses high pressure air as the grit propellant, is most often used to prepare metal surfaces.
As an abrasive material, sand is cheap and readily available. Although native sand, sand from a local source may be used, cleaning the material to remove impurities is highly recommended. Also, the granule size and composition of native sand can vary considerably, which makes achieving uniform results a little trickier. Many professional contractors use aluminum oxide or silicon carbide grit that has been cleaned and sifted for uniform particle size.
Like many blasting procedures, sand blasting is of limited use against areas that are thickly coated with paint. Thicker finishes should be scraped before shooting the structure in order to preserve the substrate.
Like steel shot, the sand can be cleaned and reused if desired. An extraction system reclaims the sand particles by showering the sand and paint impregnated air with water. A filtering system removes the dirt and paint and leaves the sand particles for reuse.
Coming Up: Water Blasting in Detail
Monday, July 14, 2008
Shot Blasting in Detail
Steel shot or grit is one of the commonly used abrasive materials in blasting procedures. The steel is mixed with high pressure air and shot at the surface. When the spray of air and shot is directed at the paint surface, the shot chips and flakes away the paint, metal scale and other surface imperfections that can complicate a painting or coating project.
Since this surface preparation method uses steel shot, the blasting action leaves behind a rough surface which can assist in coating adhesion. However, the steel shot does remove enough of the surface material to make a difference in environments where tight physical tolerances must be preserved.
Steel shot is very durable and the same blasting material can be recycled and re-used. However, to exploit this capability, the steel shot must be kept dry to inhibit the formation of rust on the shot material.
Sometimes, the steel shot is replaced by other metals, such as aluminum. Using softer metals for abrasive cleaning results in a smoother substrate, which may be desirable for some types of materials or finishes.
Shot blasting is especially useful for preparing floors for refinishing. The abrasive action of the steel shot can strip away the types of paints which are used in flooring applications. Steel shot is also able to strip away the residue of glues and other materials used to bond tile and other types of flooring to the substrate.
Since this surface preparation method uses steel shot, the blasting action leaves behind a rough surface which can assist in coating adhesion. However, the steel shot does remove enough of the surface material to make a difference in environments where tight physical tolerances must be preserved.
Steel shot is very durable and the same blasting material can be recycled and re-used. However, to exploit this capability, the steel shot must be kept dry to inhibit the formation of rust on the shot material.
Sometimes, the steel shot is replaced by other metals, such as aluminum. Using softer metals for abrasive cleaning results in a smoother substrate, which may be desirable for some types of materials or finishes.
Shot blasting is especially useful for preparing floors for refinishing. The abrasive action of the steel shot can strip away the types of paints which are used in flooring applications. Steel shot is also able to strip away the residue of glues and other materials used to bond tile and other types of flooring to the substrate.
An Overview of Blasting
One of the first steps to a commercial painting project is the removal of the old paint from the surface. Blasting is a removal method that shoots abrasive particles at the painted surface. The particles impact the finish and scour or chip away the paint. Depending on the abrasive material used, the substrate, or surface underneath the paint may be affected by the blasting procedure.
Compressed air is one of the most common propellants used for a blasting system. An air compressor blasts air into a mixing chamber, which also receives the abrasive medium from a storage chamber. The compressed air is mixed with the abrasive medium and shot through a low diameter aperture.
The resulting forceful blast of air enhances the abrasive characteristics of the shot material and weakens the adhesive bond between the paint and the treated surface. As more and more of the paint is stripped from the surface, the abrasive materials act directly on the surface.
Some of the abrasive materials used by commercial painting contractors include sand, steel shot or grit and water. Advances in blasting technology have led to the use of plastic and dry ice as abrasive materials. Also, the pressures used for delivery have decreased as abrasive technology has advanced.
Each type of material affects the substrate differently, so some types of blasting are more suitable for certain materials and applications.
Coming Up: Shot Blasting in Detail
Compressed air is one of the most common propellants used for a blasting system. An air compressor blasts air into a mixing chamber, which also receives the abrasive medium from a storage chamber. The compressed air is mixed with the abrasive medium and shot through a low diameter aperture.
The resulting forceful blast of air enhances the abrasive characteristics of the shot material and weakens the adhesive bond between the paint and the treated surface. As more and more of the paint is stripped from the surface, the abrasive materials act directly on the surface.
Some of the abrasive materials used by commercial painting contractors include sand, steel shot or grit and water. Advances in blasting technology have led to the use of plastic and dry ice as abrasive materials. Also, the pressures used for delivery have decreased as abrasive technology has advanced.
Each type of material affects the substrate differently, so some types of blasting are more suitable for certain materials and applications.
Coming Up: Shot Blasting in Detail
Friday, July 11, 2008
More Swing Stage OSHA Requirements
OSHA requirements for swing stages go beyond load bearing minimums. Proper set-up and assembly of a swing stage is critical to safe operation. Here is an overview of the OSHA requirements for proper anchoring component set-up.
Outrigger beams have to be anchored properly, either through a direct bolt-on connection to the roof surface or through suitable counter-weights. If either of these methods is not able to be used, then the outrigger beams must be secured through the use of tie backs.
Outrigger beams must be installed at right angles to the building face. If this is impossible, then tie backs must be set at an opposing angle in order to secure the swing stage properly.
Direct connections and tie backs must be connected to a structural member capable of bearing the weight of the swing stage and workers. Piping, conduits and similar rooftop structures are not acceptable connection points.
Counterweights must be made of a solid, non-flowing material, not gravel sand or other material that may shift settle or deform as the swing stage is in use.
Before the scaffolding system is put in use, an examination by a competent person must be conducted to determine if the rigging system is properly assembled and in compliance with OSHA requirements. This final once over helps insure the safety of everybody on the job site.
Have a great weekend.
Outrigger beams have to be anchored properly, either through a direct bolt-on connection to the roof surface or through suitable counter-weights. If either of these methods is not able to be used, then the outrigger beams must be secured through the use of tie backs.
Outrigger beams must be installed at right angles to the building face. If this is impossible, then tie backs must be set at an opposing angle in order to secure the swing stage properly.
Direct connections and tie backs must be connected to a structural member capable of bearing the weight of the swing stage and workers. Piping, conduits and similar rooftop structures are not acceptable connection points.
Counterweights must be made of a solid, non-flowing material, not gravel sand or other material that may shift settle or deform as the swing stage is in use.
Before the scaffolding system is put in use, an examination by a competent person must be conducted to determine if the rigging system is properly assembled and in compliance with OSHA requirements. This final once over helps insure the safety of everybody on the job site.
Have a great weekend.
Swing Stage OSHA Requirements
OSHA requirements for swing stage scaffolding is meant to ensure the safety of the workers both on the scaffolding platform and on the ground. Every year, hundreds, perhaps thousands of workers risk injury on jury-rigged or otherwise inadequate work platforms. Here is a brief summary of the requirements for the materials and construction of a swing stage.
Swing Stage Load Bearing Requirements
Scaffold components must be able to bear up to their own weight plus at least four times their maximum allowable load. Although the components must be a little over-built to meet the OSHA specs, the maximum load should not be exceeded. The extra load capacity is meant as a safety cushion during operation.
Suspension ropes and cables have even more stringent load bearing requirements. They must be able to support at least six times the force generated by the scaffold platform and components operating at either the maximum rated load of the platform or at least double the stall load* of the hoist, whichever is greater.
The outriggers, cornice hooks and other anchoring components of a swing stage scaffolding system must be attached to surfaces which are able to bear at least four times the weight of the maximum rated load of the swing stage or one and a half times the stall load of the hoist, which ever is greater.
*Side note: The stall load of a hoist is the amount of load that causes an motorized hoist to stall or disconnect its power supply.
Coming Up: More Swing Stage OSHA Requirements
Swing Stage Load Bearing Requirements
Scaffold components must be able to bear up to their own weight plus at least four times their maximum allowable load. Although the components must be a little over-built to meet the OSHA specs, the maximum load should not be exceeded. The extra load capacity is meant as a safety cushion during operation.
Suspension ropes and cables have even more stringent load bearing requirements. They must be able to support at least six times the force generated by the scaffold platform and components operating at either the maximum rated load of the platform or at least double the stall load* of the hoist, whichever is greater.
The outriggers, cornice hooks and other anchoring components of a swing stage scaffolding system must be attached to surfaces which are able to bear at least four times the weight of the maximum rated load of the swing stage or one and a half times the stall load of the hoist, which ever is greater.
*Side note: The stall load of a hoist is the amount of load that causes an motorized hoist to stall or disconnect its power supply.
Coming Up: More Swing Stage OSHA Requirements
Thursday, July 10, 2008
More about Swing Stages
Although swing stage scaffolding units vary from manufacturer to manufacturer, a few general components are common from scaffolding system to scaffolding system.
Anchorage Systems
Three main anchorage systems are used to secure a swing stage: tiebacks, counterweights and direct connections. Tiebacks are set perpendicular to the building’s face and are secured to the structure with strong braided steel cables. Counterweight systems use a carefully balanced mass of weights attached to a set of outrigger beams. The mass counter-acts the weight of the swing stage, workers and equipment. Direct connections are sometimes used in place of or as a supplement to counterweight systems. In a direct connection system, bolts or other connectors secure the outrigger beams to the building’s structure.
Support and Hoist Components
The support and hoist components are the cables and winches which are used to raise and lower the working platform along the work face. Hoists may be manually operated or motorized, and the cable materials may be made of heavy rope or braided steel.
Platform System
The platform is the heart of a swing stage set-up. Four types of construction are used to make a swing stage platform. Beam type platforms are made from a framework of 2 X 6 lumber. Ladder type platforms use a specially constructed ladder as a framework for decking and railings. Plank type platforms are constructed of 2 X 8 beams cleated together to create the flooring surface. Light metal platforms utilize metal alloys to create a strong, light-weight working platform.
Anchorage Systems
Three main anchorage systems are used to secure a swing stage: tiebacks, counterweights and direct connections. Tiebacks are set perpendicular to the building’s face and are secured to the structure with strong braided steel cables. Counterweight systems use a carefully balanced mass of weights attached to a set of outrigger beams. The mass counter-acts the weight of the swing stage, workers and equipment. Direct connections are sometimes used in place of or as a supplement to counterweight systems. In a direct connection system, bolts or other connectors secure the outrigger beams to the building’s structure.
Support and Hoist Components
The support and hoist components are the cables and winches which are used to raise and lower the working platform along the work face. Hoists may be manually operated or motorized, and the cable materials may be made of heavy rope or braided steel.
Platform System
The platform is the heart of a swing stage set-up. Four types of construction are used to make a swing stage platform. Beam type platforms are made from a framework of 2 X 6 lumber. Ladder type platforms use a specially constructed ladder as a framework for decking and railings. Plank type platforms are constructed of 2 X 8 beams cleated together to create the flooring surface. Light metal platforms utilize metal alloys to create a strong, light-weight working platform.
Swing Stages vs Powered Lifts
Powered ground-based lift systems, such as a scissor lifts and extendable boom lifts, are versatile additions to a contractor’s arsenal of tools. However, lifts do have their limitations.
All ground based lifts have a limited vertical reach. The working height of these lift systems is perfectly fine for painting a warehouse or similar sized structure. For high rises and commercial towers, however, ground based lift systems do not provide the lift needed to get the job done.
As ground based lifts reach higher and higher, they become more unstable. Adding outrigger equipment and stability mechanisms to the ground lift gives the machines a few more feet of vertical lift, but negates the system’s maneuverability, one of the great advantages of a ground-based lift system. For projects that reach the upper limits of a lift’s capabilities and beyond, a different approach is needed.
Swing stages are another system used by painting contractors to tackle the tallest commercial painting projects. The swing stage approaches the problem of vertical lift from the other direction, from the top down. Anchoring mechanisms are place on the top of the structure, and the guide mechanisms are suspended from the anchoring points. The swing stage work platform is supported by the guide mechanisms and is able to move up and down along the surface of the building.
Coming Up: More about Swing Stages
All ground based lifts have a limited vertical reach. The working height of these lift systems is perfectly fine for painting a warehouse or similar sized structure. For high rises and commercial towers, however, ground based lift systems do not provide the lift needed to get the job done.
As ground based lifts reach higher and higher, they become more unstable. Adding outrigger equipment and stability mechanisms to the ground lift gives the machines a few more feet of vertical lift, but negates the system’s maneuverability, one of the great advantages of a ground-based lift system. For projects that reach the upper limits of a lift’s capabilities and beyond, a different approach is needed.
Swing stages are another system used by painting contractors to tackle the tallest commercial painting projects. The swing stage approaches the problem of vertical lift from the other direction, from the top down. Anchoring mechanisms are place on the top of the structure, and the guide mechanisms are suspended from the anchoring points. The swing stage work platform is supported by the guide mechanisms and is able to move up and down along the surface of the building.
Coming Up: More about Swing Stages
Wednesday, July 9, 2008
A Closer Look at Aerial Lift Certification Courses
Aerial lift certification courses are usually divided into two types: operator certification courses and trainer/supervisor certification courses.
Operator-oriented aerial lift certification courses give workers the training they need to operate equipment safely at a busy construction site. At the operator level, the training package is usually a combination of lecture and hands-on practice with an accredited trainer. Often, companies can request a training session at the project site. Course lengths range from 4 hours for a single machine course, to a two day all-inclusive course that certifies the operator on a wide range of aerial lifts.
Here are the topics covered in a typical aerial lift operator certification course:
While most trainer certification courses cover the same material as the operator courses, the trainer courses are much more in-depth than operator-only certification courses. Additional material covered in these certification programs includes training-specific concerns, such as how to handle operator questions and how to judge operator proficiency.
Operator-oriented aerial lift certification courses give workers the training they need to operate equipment safely at a busy construction site. At the operator level, the training package is usually a combination of lecture and hands-on practice with an accredited trainer. Often, companies can request a training session at the project site. Course lengths range from 4 hours for a single machine course, to a two day all-inclusive course that certifies the operator on a wide range of aerial lifts.
Here are the topics covered in a typical aerial lift operator certification course:
- Current Regulations for Aerial Lifts
- Types of Aerial Lifts (may be limited)
- Weight Capacity Review
- Aerial Lift Parts and Functions
- Safe Operation Practices
- Fall Protection Inspection Practices
- Hands-on Operation Practice
While most trainer certification courses cover the same material as the operator courses, the trainer courses are much more in-depth than operator-only certification courses. Additional material covered in these certification programs includes training-specific concerns, such as how to handle operator questions and how to judge operator proficiency.
Aerial Lift Certification Overview
In the painting and coating field, aerial lifts are vital for the completion of most projects, and they are also the source many of the industry’s most serious work-related injuries. Certification training for aerial lifts, including scissor lifts, is one way for contractors to create a safer work environment.
California, like many states, recognizes a difference between a competent equipment operator and a qualified equipment operator. Although a competent equipment operator has the experience to operate machinery in a reasonably safe manner, that operator has not received any formal documented training with the equipment. A qualified machine operator has the documented training that is required to be in full compliance with OSHA standards.
Certification courses for aerial lifts typically cover the types of lifts in the workplace, review the weight limits of various machines and detail safe operating practices. These courses vary in length from 4 to 16 hours, depending on the number and type of aerial lift machines covered as part of the course.
Aerial lift certification courses which “train the trainer” are also available. These types of certification courses are usually more involved than simple operator training, and are therefore more expensive and more time intensive. The time investment for these courses ranges from 8 to 16 hours.
Coming Up: A Closer Look at Aerial Lift Certification Courses
California, like many states, recognizes a difference between a competent equipment operator and a qualified equipment operator. Although a competent equipment operator has the experience to operate machinery in a reasonably safe manner, that operator has not received any formal documented training with the equipment. A qualified machine operator has the documented training that is required to be in full compliance with OSHA standards.
Certification courses for aerial lifts typically cover the types of lifts in the workplace, review the weight limits of various machines and detail safe operating practices. These courses vary in length from 4 to 16 hours, depending on the number and type of aerial lift machines covered as part of the course.
Aerial lift certification courses which “train the trainer” are also available. These types of certification courses are usually more involved than simple operator training, and are therefore more expensive and more time intensive. The time investment for these courses ranges from 8 to 16 hours.
Coming Up: A Closer Look at Aerial Lift Certification Courses
Tuesday, July 8, 2008
Where Is Fall Protection Needed?
While it is obvious that some kind of fall protection system is needed when you are suspended inside of a 30 foot tall storage tank, not every work environment will require a fall protection system to be in place. Here is a list of work environments where fall prevention is required or recommended.
Six Foot Rule: In the construction industry, any time a worker is exposed to the possibility of a six foot or greater fall to a lower surface, OSHA regulations require some form of fall protection to be in place. In general industry, fall protection measures must be instituted for potential falls of four feet or more.
Excessive Grade: Steep surfaces can pose a significant falling hazard on the job site. Workers on grades steeper than a 7:12 pitch should be protected against falls. If the working surface is loose or otherwise unstable, grades shallower than a 7:12 pitch may require some form of fall prevention system.
Narrow Work Surfaces: Narrow work surfaces can create the potential for falls and increase the chances of a fall happening when combined with steep grade and loose surfaces.
The specific kind of fall prevention system will vary depending on the nature of the job environment and the other kinds of equipment in use at the site. A careful assessment of the work area is required to provide the best combination of safety equipment for workers.
Six Foot Rule: In the construction industry, any time a worker is exposed to the possibility of a six foot or greater fall to a lower surface, OSHA regulations require some form of fall protection to be in place. In general industry, fall protection measures must be instituted for potential falls of four feet or more.
Excessive Grade: Steep surfaces can pose a significant falling hazard on the job site. Workers on grades steeper than a 7:12 pitch should be protected against falls. If the working surface is loose or otherwise unstable, grades shallower than a 7:12 pitch may require some form of fall prevention system.
Narrow Work Surfaces: Narrow work surfaces can create the potential for falls and increase the chances of a fall happening when combined with steep grade and loose surfaces.
The specific kind of fall prevention system will vary depending on the nature of the job environment and the other kinds of equipment in use at the site. A careful assessment of the work area is required to provide the best combination of safety equipment for workers.
Fall Protection Systems
Commercial painting contractors have to be able to reach very hard to get to areas in order to deliver a quality job. Smokestacks, storage tank interiors and stadium ceilings are just a few places that require specialized equipment to ensure on the job safety. Fall protection systems are an example of the specialized safety equipment needed by a painting contractor to get the job done.
Fall protection systems are broken down into six categories:
When selecting safety equipment, it is always preferable to choose equipment that prevents the accident from happening at all rather than relying on equipment that reduces the impact of the accident. As applied to fall prevention, this means that fixed barriers and other systems that prevent a fall from happening are preferred over personal safety equipment such as a fall arrest system. Of course, the specific work environment will dictate the best approach or combination of approaches needed to ensure worker safety.
Coming Up: Where Is Fall Protection Needed?
Fall protection systems are broken down into six categories:
- Fall Arrest Systems (safety line and harness)
- Fall Containment Systems (safety nets)
- Fixed Barriers (handrails, guardrails)
- Surface Opening Protection (removable covers, guardrails)
- Surface Protection (non-slip flooring)
- Travel Restraint Systems (safety line and belt)
When selecting safety equipment, it is always preferable to choose equipment that prevents the accident from happening at all rather than relying on equipment that reduces the impact of the accident. As applied to fall prevention, this means that fixed barriers and other systems that prevent a fall from happening are preferred over personal safety equipment such as a fall arrest system. Of course, the specific work environment will dictate the best approach or combination of approaches needed to ensure worker safety.
Coming Up: Where Is Fall Protection Needed?
Monday, July 7, 2008
Scissor Lift Tip-Over Prevention
Scissor lifts are a common piece of work equipment for painting contractors. These versatile lifts make getting to hard to reach areas a lot easier. However, the scissor lift can be a dangerous piece of equipment if it is not properly used.
Scissor lift collapses and tip-overs account for almost a third of all aerial lift related construction deaths. Many of these fatal accidents happen while moving the lift from place to place, so the first place to look when improving scissor lift safety is proper moving techniques.
Scissor lift collapses and tip-overs account for almost a third of all aerial lift related construction deaths. Many of these fatal accidents happen while moving the lift from place to place, so the first place to look when improving scissor lift safety is proper moving techniques.
- Do not move the lift near drop-offs
- Do not raise work platform on a slope
- Do not raise platform on uneven or soft surfaces
Tip-over accidents are more common when the lift is above 15 feet. As the work platform is elevated, it creates a more unstable structure which amplifies wobbling caused by workers’ movements. Increasing weight also increases the chances of a tip-over accident, because the weight applied to the platform behaves like a force acting on the end of a lever. As the scissor lift is extended, the lift multiplies that force more effectively, just as a longer lever generates more power.
- Do not exceed rated load capacity for a scissor lift
- Do not raise the platform in windy conditions
- Avoid excessive pushing or pulling on the elevated platform
Scissor Lift Fall Protection
Getting back to work after a holiday weekend is a good time to review safety procedures with painting and coating equipment. Scissor lifts provide work crews with a maneuverable, convenient system to reach high places, without the extensive set-up and tear-down time of traditional scaffolding. However, scissor lifts demand just as much attention to safety as scaffolding.
The National Institute for Occupational Safety and Health (NIOSH) reports that over one in ten deaths among painters is caused by a scissor lift mishap, with most fatal accidents caused by falls and tip-overs. Most of these accidents could have prevented by following a few common sense guidelines for using a scissor lift.
Fall Protection: According to NIOSH statistics, falls from scissor lifts account for almost half of all aerial lift deaths in the construction field. The most important ways to protect against falls are the easiest for work crews to implement. Guardrails need to closed and secured before use. Work crews should not lean over or climb on guardrails.
OSHA regulations treat scissor lifts as a scaffolding system for safety purposes. This means that harnesses and lanyards to prevent falls are not required if guardrails are in use. OSHA warns that fall arrest systems are a poor safety choice for use in a scissor lift because the force of stopping the fall can cause the lift to topple over. Instead OSHA recommends fall prevention systems that are properly sized for the scissor lift’s workspace.
Coming Up: Scissor Lift Tip-Over Prevention
The National Institute for Occupational Safety and Health (NIOSH) reports that over one in ten deaths among painters is caused by a scissor lift mishap, with most fatal accidents caused by falls and tip-overs. Most of these accidents could have prevented by following a few common sense guidelines for using a scissor lift.
Fall Protection: According to NIOSH statistics, falls from scissor lifts account for almost half of all aerial lift deaths in the construction field. The most important ways to protect against falls are the easiest for work crews to implement. Guardrails need to closed and secured before use. Work crews should not lean over or climb on guardrails.
OSHA regulations treat scissor lifts as a scaffolding system for safety purposes. This means that harnesses and lanyards to prevent falls are not required if guardrails are in use. OSHA warns that fall arrest systems are a poor safety choice for use in a scissor lift because the force of stopping the fall can cause the lift to topple over. Instead OSHA recommends fall prevention systems that are properly sized for the scissor lift’s workspace.
Coming Up: Scissor Lift Tip-Over Prevention
Friday, July 4, 2008
More Green Painting Products for Your Building
If your building has a green image to maintain, then you are always on the look out for products and practices that reduce emissions and reduce waste. Your regular painting and coating projects are an excellent opportunity for you to make environmentally friendly choices. By working with your painting contractor, you specify green products to use in your building. Here are a few painting products that are cleaner and greener.
Soy Ester Paint Stripper: Removal and restoration projects are often big sources of toxic petroleum-based products. By using products that replace the petroleum based ingredients with soy esters, your painting project can help improve the green image of your building. Some manufacturers have soy-based stripper products specially formulated for use in lead abatement projects. Soy esters are also used to make more environmentally friendly graffiti removers.
Silicate Paints: Made from natural minerals, silicate paints are meant for concrete or masonry surfaces. The paint may also be used on gypsum wallboard. A potassium silicate binder latches on to the concrete surface and provides good adhesion, while the crushed minerals provide color, weather resistance and breathability. Depending on the mineral mixture, silicate paints may also help reduce the building’s thermal load by reflecting excess solar energy.
Enjoy the weekend and have a happy and safe Fourth of July!
Soy Ester Paint Stripper: Removal and restoration projects are often big sources of toxic petroleum-based products. By using products that replace the petroleum based ingredients with soy esters, your painting project can help improve the green image of your building. Some manufacturers have soy-based stripper products specially formulated for use in lead abatement projects. Soy esters are also used to make more environmentally friendly graffiti removers.
Silicate Paints: Made from natural minerals, silicate paints are meant for concrete or masonry surfaces. The paint may also be used on gypsum wallboard. A potassium silicate binder latches on to the concrete surface and provides good adhesion, while the crushed minerals provide color, weather resistance and breathability. Depending on the mineral mixture, silicate paints may also help reduce the building’s thermal load by reflecting excess solar energy.
Enjoy the weekend and have a happy and safe Fourth of July!
Greener Paints for Your Building?
As environmental consciousness becomes more mainstream, more buildings are going green not just in their construction phase, but throughout their entire life cycle. Maintenance planners looking for environmentally friendly materials and practices for their building will find a host of new products each year that deliver a greener building. Here are a few types of paint that are cleaner and greener.
100 Percent Acrylic Paint: Marketed for years as a top of the line paint, 100 percent acrylic is a very good choice for a greener paint. The paint has a very low VOC profile and is suitable for a wide range of painting applications. Good resistance to dirt pick up and cracking, good drying time and availability in a nice range of pigment volume concentrations are just a few of 100 percent acrylic’s characteristics. Now 100 percent acrylics can add “being green” to its list of desirable qualities.
Milk Paint: This paint replaces the petroleum based binders used in other paints with milk proteins, clay and lime. Milk paints are delivered in a dry powdered form and mixed on site before use. Like milk, any used solution must be refrigerated between applications. So far, milk paint has seen most use in private homes. Some of milk paints qualities have made it of limited use in the commercial and industrial painting field, particularly its somewhat poor mix consistency and poor application characteristics. Some special-purpose facilities, such as museums or historical structures, may find its more vintage finished appearance a plus.
Coming Up: More Green Painting Products for Your Building
100 Percent Acrylic Paint: Marketed for years as a top of the line paint, 100 percent acrylic is a very good choice for a greener paint. The paint has a very low VOC profile and is suitable for a wide range of painting applications. Good resistance to dirt pick up and cracking, good drying time and availability in a nice range of pigment volume concentrations are just a few of 100 percent acrylic’s characteristics. Now 100 percent acrylics can add “being green” to its list of desirable qualities.
Milk Paint: This paint replaces the petroleum based binders used in other paints with milk proteins, clay and lime. Milk paints are delivered in a dry powdered form and mixed on site before use. Like milk, any used solution must be refrigerated between applications. So far, milk paint has seen most use in private homes. Some of milk paints qualities have made it of limited use in the commercial and industrial painting field, particularly its somewhat poor mix consistency and poor application characteristics. Some special-purpose facilities, such as museums or historical structures, may find its more vintage finished appearance a plus.
Coming Up: More Green Painting Products for Your Building
Thursday, July 3, 2008
What Makes Paint Glossy?
The surface luster or shine of dried paint is created by the ratio of pigment to binder. In the painting industry, this ratio is called the pigment volume concentration (PVC), which is the comparison of the volume of pigment to the volume of binder, and is expressed as a percentage.
A higher PVC results in flatter finishes, while lower PVC will give a finish a glossier appearance. Lower pigment concentrations allow more white light to be reflected by the binder material from the surface, giving it a shiny or wet appearance. Paint manufacturers have five more or less standard ranks of surface luster:
Flat: The most pigment rich of all paints, with a PVC of at least 40 percent or higher.
Eggshell: A step down in pigment concentration from flat paint, with a PVC of 35 to 40 percent
Satin: These paints have a PVC of approximately 30 to 35 percent.
Semi-gloss: Semi-gloss paints are a little less than half as concentrated as flat paints, with a PVC of 25 percent.
Gloss: The glossy paints have a PVC of roughly 15 percent.
Flatter paints are slightly less durable than glossier paints because the flat paints have less of the binder material to form a tough bond with the painted surface. When used in commercial or industrial painting applications, flatter paints tend to be used for interior surfaces, while glossier paints are often reserved for exterior applications.
A higher PVC results in flatter finishes, while lower PVC will give a finish a glossier appearance. Lower pigment concentrations allow more white light to be reflected by the binder material from the surface, giving it a shiny or wet appearance. Paint manufacturers have five more or less standard ranks of surface luster:
Flat: The most pigment rich of all paints, with a PVC of at least 40 percent or higher.
Eggshell: A step down in pigment concentration from flat paint, with a PVC of 35 to 40 percent
Satin: These paints have a PVC of approximately 30 to 35 percent.
Semi-gloss: Semi-gloss paints are a little less than half as concentrated as flat paints, with a PVC of 25 percent.
Gloss: The glossy paints have a PVC of roughly 15 percent.
Flatter paints are slightly less durable than glossier paints because the flat paints have less of the binder material to form a tough bond with the painted surface. When used in commercial or industrial painting applications, flatter paints tend to be used for interior surfaces, while glossier paints are often reserved for exterior applications.
Paint Additives
Additives are the most diverse components of paint. By selecting the right additives, a painting and coating contractor can set the desired properties of the paint. Here are some interesting additive materials, along with the special properties that they impart to a paint or coating product.
Mineral spirits are occasionally added to alkyd paints to improve their penetrating ability. This is often a concern when the paint is applied to a porous surface such as wood. Mineral spirits also help the paint spread more easily.
Ceramic additives can help control heating in a structure. The ceramic material reflects sunlight from the exterior of the building, thus reducing the thermal load on the building’s HVAC system. The same reflective qualities keep heat inside a building.
Silicone additives can bring a host of positive benefits to the paint, including improved adhesion, moisture resistance, mar resistance and anti-foaming properties. Silicon additives can also impart high gloss to paint. Related compounds called siloxanes improve spread and wetting characteristics of paints and coatings.
Microspheres are a very advanced paint additive which has so far been used in the aerospace and automobile industries. The glass microspheres grant a number of desirable properties to paint in high performance environments, including reduced weight.
Pyrolytic paint additives grant flame retardant qualities to paint. Pyrolytic compounds depend on a chemical reaction to produce an extinguishing effect in the presence of heat or flame.
Coming Up: What makes paint glossy?
Mineral spirits are occasionally added to alkyd paints to improve their penetrating ability. This is often a concern when the paint is applied to a porous surface such as wood. Mineral spirits also help the paint spread more easily.
Ceramic additives can help control heating in a structure. The ceramic material reflects sunlight from the exterior of the building, thus reducing the thermal load on the building’s HVAC system. The same reflective qualities keep heat inside a building.
Silicone additives can bring a host of positive benefits to the paint, including improved adhesion, moisture resistance, mar resistance and anti-foaming properties. Silicon additives can also impart high gloss to paint. Related compounds called siloxanes improve spread and wetting characteristics of paints and coatings.
Microspheres are a very advanced paint additive which has so far been used in the aerospace and automobile industries. The glass microspheres grant a number of desirable properties to paint in high performance environments, including reduced weight.
Pyrolytic paint additives grant flame retardant qualities to paint. Pyrolytic compounds depend on a chemical reaction to produce an extinguishing effect in the presence of heat or flame.
Coming Up: What makes paint glossy?
Wednesday, July 2, 2008
The Pros and Cons of Paint Binders
The type of binder used in paint makes a dramatic difference in the coating’s properties. Even the application and clean up process is affected by the choice of paint binder. Knowing which kind of paint to use depends on a thorough understanding of the pros and cons of each kind of paint.
Oil-based alkyd binders form their protective qualities through a drying process called film formation. As the liquid medium evaporates from the paint, the alkyd binder reacts with oxygen in the air to form a tough film over the painted surface.
Pros: Tough film protection of surface, good for trim work and woods
Cons: More prone to chipping or cracking, longer dry time than latex, can blister if applied over a damp surface, chemical clean up
When latex-based binders dry, they help protect the surface material through a process called coalescence. During the drying process, water molecules leave the surface of the paint, which embeds the pigment molecules among the latex particles.
Pros: Fast dry time, breathable, allows passage of moisture from inside painted surface, water clean up
Cons: Low temp applications problematic, excessive drying during application can affect finish durability
Oil-based alkyd binders form their protective qualities through a drying process called film formation. As the liquid medium evaporates from the paint, the alkyd binder reacts with oxygen in the air to form a tough film over the painted surface.
Pros: Tough film protection of surface, good for trim work and woods
Cons: More prone to chipping or cracking, longer dry time than latex, can blister if applied over a damp surface, chemical clean up
When latex-based binders dry, they help protect the surface material through a process called coalescence. During the drying process, water molecules leave the surface of the paint, which embeds the pigment molecules among the latex particles.
Pros: Fast dry time, breathable, allows passage of moisture from inside painted surface, water clean up
Cons: Low temp applications problematic, excessive drying during application can affect finish durability
Types of Binders
The binder is one of the most important ingredients in modern paints. Although linseed oil and other organic binders such as egg tempera were once commonly used by painters to lock the pigment into place on surfaces, today’s binders are formulated for quick dry times and superior tenacity.
Oil-based binders are the oldest type of coating material used in paint. Although linseed oil and tung oil are serviceable, they do have long drying times, and can be quite vulnerable to chipping or cracking once dry. In modern commercial painting, polyester compounds called alkyds are introduced in the oil medium in order to speed drying time. The drying time is dependant on the ratio of alkyds to oil.
Latex-based binders are a dispersion of microscopic plastic particles in water. Although called latex, this type of binder has nothing to do with latex rubber. It gets its name from the similarity of the milky-white liquid suspension to the natural sap of the rubber tree.
Currently, three types of latex-based binders are in common use: acrylic, vinyl acrylic and styrenated acrylic. 100 percent acrylic paints are used as top of the line exterior paints because of their excellent resistance to cracking and peeling. Inside, they offer superior mold protection and are resistant to alkali-based chemicals found in many cleaning products. Vinyl acrylic paints and styrenated acrylic are often used when cost is a factor, although styrenated acrylics find use as metal surface coatings and masonry sealers.
Oil-based binders are the oldest type of coating material used in paint. Although linseed oil and tung oil are serviceable, they do have long drying times, and can be quite vulnerable to chipping or cracking once dry. In modern commercial painting, polyester compounds called alkyds are introduced in the oil medium in order to speed drying time. The drying time is dependant on the ratio of alkyds to oil.
Latex-based binders are a dispersion of microscopic plastic particles in water. Although called latex, this type of binder has nothing to do with latex rubber. It gets its name from the similarity of the milky-white liquid suspension to the natural sap of the rubber tree.
Currently, three types of latex-based binders are in common use: acrylic, vinyl acrylic and styrenated acrylic. 100 percent acrylic paints are used as top of the line exterior paints because of their excellent resistance to cracking and peeling. Inside, they offer superior mold protection and are resistant to alkali-based chemicals found in many cleaning products. Vinyl acrylic paints and styrenated acrylic are often used when cost is a factor, although styrenated acrylics find use as metal surface coatings and masonry sealers.
Tuesday, July 1, 2008
Modern Painting Compounds
Once the product of inexact experimentation, the pigments in today’s industrial painting and commercial painting applications are precisely formulated to deliver the greatest amount of color with the least amount of solid material.
Titanium dioxide compounds are most commonly used as pigment in white paint. Other common pigment choices include zinc phosphate, a pigment which also offers good outdoor durability, and zinc borate, a pigment that exhibits decent flame retardant and anti-corrosive properties.
Chromium oxide green is one of the most widely used modern pigments to produce the color green. This pigment is one of the first modern pigments, in that it was chemically extracted from lead chromate rather than taken from an organic source.
As chemical knowledge expanded, so did the ability to create new pigments. Rich blues were often difficult and expensive to create in the past. Chemistry brought the ability to react copper salts and produce phthalocyanine, which can be combined with other metals such as copper, cobalt and nickel to create various shades of blue.
Today’s pigments push the performance envelope with acid-resistance, wind resistance and other qualities. An example of a truly modern pigment is a DPP pigment. DPP stands for diketopyrrolopyrrole, a chemical structure that contains a carboxylic acid group. DPP pigments produce shades of red, and are often used in industrial applications and in powder coating.
Titanium dioxide compounds are most commonly used as pigment in white paint. Other common pigment choices include zinc phosphate, a pigment which also offers good outdoor durability, and zinc borate, a pigment that exhibits decent flame retardant and anti-corrosive properties.
Chromium oxide green is one of the most widely used modern pigments to produce the color green. This pigment is one of the first modern pigments, in that it was chemically extracted from lead chromate rather than taken from an organic source.
As chemical knowledge expanded, so did the ability to create new pigments. Rich blues were often difficult and expensive to create in the past. Chemistry brought the ability to react copper salts and produce phthalocyanine, which can be combined with other metals such as copper, cobalt and nickel to create various shades of blue.
Today’s pigments push the performance envelope with acid-resistance, wind resistance and other qualities. An example of a truly modern pigment is a DPP pigment. DPP stands for diketopyrrolopyrrole, a chemical structure that contains a carboxylic acid group. DPP pigments produce shades of red, and are often used in industrial applications and in powder coating.
The Science of Pigments
Pigments are the organic and inorganic solid compounds that give paint its signature color. Today, we are going examine pigments and discover how they make colors come to life.
Pigments are solid particles held in suspension with the binder. These solid particles react with the wavelengths of visible light to produce color. Most every day light sources emit a range of light frequencies. When light hits a painted surface, some of those frequencies are absorbed by the pigment, while the other frequencies are reflected away. The reflected light determines the color that the eye perceives.
Red paints absorb higher frequency light, while reflecting the light closest to the infrared spectrum. White paint looks the way it does because the pigments reflect all of the light frequencies that hit the painted surface about equally.
The interaction of pigment with the other components of a paint help determine other characteristics of the perceived color. Increasing the amount of pigment relative to the amount of binder increases the saturation or intensity of the perceived color. Greater amounts of pigment in paint also contribute to a flat finish. Smaller amounts of pigment allow natural light to reflect unchanged from a painted surface, which gives the paint a glossy look.
Coming Up: Modern Pigment Compounds
Pigments are solid particles held in suspension with the binder. These solid particles react with the wavelengths of visible light to produce color. Most every day light sources emit a range of light frequencies. When light hits a painted surface, some of those frequencies are absorbed by the pigment, while the other frequencies are reflected away. The reflected light determines the color that the eye perceives.
Red paints absorb higher frequency light, while reflecting the light closest to the infrared spectrum. White paint looks the way it does because the pigments reflect all of the light frequencies that hit the painted surface about equally.
The interaction of pigment with the other components of a paint help determine other characteristics of the perceived color. Increasing the amount of pigment relative to the amount of binder increases the saturation or intensity of the perceived color. Greater amounts of pigment in paint also contribute to a flat finish. Smaller amounts of pigment allow natural light to reflect unchanged from a painted surface, which gives the paint a glossy look.
Coming Up: Modern Pigment Compounds
Subscribe to:
Posts (Atom)
